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The development begins at the quasi lento, measure 80, with the second (b) of the generative motives which is to play an important role in the Fantasia and the Finale. It is rather broken up into sections, but holds the interest through its unflagging rhythmic vigor and daring dissonances. Franck's contrapuntal skill is shown here in the closing measures (130-134) where a phrase from the second theme on the violin, dolcissimo espressivo, is united with a phrase of the first theme on the pianoforte, hinting at the return. The recapitulation, beginning in measure 138, is perfectly normal and leads to a coda which, becoming more and more animated, ends with brilliant bravura effects for each instrument.
The third movement, entitled Recitative-Fantasia, is notable for its long declamations for the violin alone, and for its introduction of a theme from the preceding movement and of one to be repeated in the Finale. Thus the organic relationship between the various movements is shown and is still further emphasized in the Finale. The mood is often very impassioned (once fff) and dramatic, with several passages specifically marked. This music alone, which sounds like nothing before or since, would stamp Franck as an absolutely original genius. In measure 53 appears a long pianissimo meditation by the violin on a phrase—the second generative motive (b)—from the preceding movement, supported by beautifully spaced arpeggio chords on the pianoforte, e.g.
In measure 71 occurs the first appearance of the bold theme which is to be twice used for episodes in the Finale, e.g.
